Every Time I Think of You – Tracey Garvis-Graves

We’re celebrating the release of Every Time I Think of You by best selling Author Tracey Garvis-Graves! Check out how Tracey came up with the idea for the book and take a peek at the excerpt below. Don’t forget to enter the giveaway!

Thirty-year-old Daisy DiStefano has two people she holds dear: the grandmother who raised her, and her three-year-old son, Elliott. But when Daisy’s grandmother is killed in a seemingly random act of violence, Daisy must take steps to protect herself and her child.

Despite a thriving career in San Francisco, thirty-six-year-old Brooks McClain has returned home to spend what little time his mother has left before she succumbs to the deadly disease that is ravaging her. The seasoned investigative reporter has taken a position with the local newspaper and been on the job less than twenty-four hours when he’s summoned to cover the death of Pauline Thorpe.

Brooks is all business, but the more time he spends with Daisy DiStefano, the more invested he becomes; there’s something about a single mother, a defenseless child, and an unsolved crime that has stirred Brooks’s protective instincts like nothing ever has before.

And when the unthinkable happens, Brooks will do whatever it takes to clear the name of the woman he’s fallen for and the child he’ll protect at any cost.

Romantic and suspenseful, Every Time I Think of You shows how far two people will go to fight for the ones they love, and the life they’ve always imagined.

An idea was born.

One of the questions I’m often asked is, “How did you come up with the idea for this book?” My books are fairly plot-driven, and Every Time I Think of You was no different. I could see the opening scene in my head like a movie so I knew what the inciting incident – in other words, the event that would send the main characters’ lives in another direction – would be. But in this case, my opening scene was the result of not only plot, but also a character. I have wanted to write a book where the main character was a crime reporter for a while now. I tend to gravitate toward heroes who are regular guys, and I wanted to see what would happen when I put this particular hero into various situations (and a little hot water). What would he do? How would he react? What, exactly, was he made of?

However, if maincharacter Brooks McClain was going to be a crime reporter, that meant I had to come up with a crime (which ultimately, I’d have to solve). I’ve never written a book with a mystery or suspense element before, but I wasn’t going to let a little thing like that get in the way of telling this story. I’ve said time and time again that I never want to be an author who writes the same book over and over, but with that motto comes challenges. I have to deal with the discomfort that comes from tackling something different than I’ve done before, and often this means learning new things.

I have a love/hate relationship with research. I keep telling myself I’m going to write a book that doesn’t require as much research, and then I write a book that requires extensive research. I should really start listening to myself! Some of the things I did in the name of research for Every Time I Think of You included taking a four-hour firearms safety course and learning how to load and shoot a gun, which was something I didn’t have any experience with.

I also studied ALS,also known as Lou Gehrig’s disease, by reading memoirs and poring over countless websites dedicated to the disease. Although the timing of the recent ALS ice bucket challenge is merely a coincidence, it makes me happy to know that this devastating illness is receiving such an outpouring of support from the general public.

I studied addiction,specifically methamphetamine addiction. What I learned was heart-wrenching, eye-opening, and often tragic. In total, I read six memoirs about addiction and read countless online articles. I watched a fascinating Frontline documentary from PBS about methamphetamine addiction and its effects on law enforcement and the community.

I reached out to a criminal defense attorney in California so that I could gain an understanding of that state’s legal processes, and I spent several hours in person and on the phone with my cousin Jack, who is a detective with the Des Moines Police Department. Jack was instrumental in explaining the outcomes of all the different scenarios I proposed (naturally, I named the detective character after him). I interviewed three different crime reporters (who all told me slightly different things), and one of them saved me from a potentially embarrassing gaffe. In Every Time I Think of You, I include an actual newspaper article written by Brooks McClain. Newspaper reporters use the Associated Press Stylebook to ensure that their articles are written correctly whereas The Chicago Manual of Style is the go-to guide for fiction writers. The crime reporter who proofed my article had me make a small tweak so that it was correct in form.

I spoke to a nurse, to make sure I got the details of Daisy’s DiStefano’s work schedule correct. There were less significant things I needed the answers to, such as what kind of jewelry a nurse would be permitted to wear to work and what floor she might work on if she were involved with a particular patient.

In addition to the factual research necessary to write this story, I also had to choose the path I’d take to solve the crime. I learned that there were a few different ways I could handle this: One, I could write the story in such a way that the reader would probably not know who committed the crime until the very end. Two, I could choose the slightly-less-suspenseful route and let the reader be privy to clues that would allow them to guess the identity of the perpetrator much earlier. That way, I could let the focus of the story rest on how the person would be brought to justice. I chose option two because I felt it would lend emotional resonance and depth to the story.

Now that I knew how I’d tell the story, I needed to concentrate on the characters. I usually have a pretty good outline in place before I sit down to start writing. This method doesn’t work for everyone, but for me it helps to have a roadmap of sorts so that I don’t waste too much time writing myself into corners. This is not a spoiler because you know from the blurb that the book deals with the aftermath of the death of Daisy’s beloved grandmother.

However, once I was about a fourth of the way through the first draft, I realized that the character I’d chosen to commit the crime didn’t actually do it. I fought it for a while, but the more I got to know these characters, the more I realized my inner muse was right. This person couldn’t have done it.

Delete, delete, delete, delete. Sigh.

The real perpetrator had a motive, but it was subtle and at first I couldn’t see it. And the person who I’d originally intended to commit the crime was actually somewhat responsible. But it will be up to the reader to draw their own conclusions about what transpired that evening in Daisy’s grandmother’s apartment, because the opening chapter of the book is narrated by Daisy’s three-year-old son, who has a very limited ability to explain it. I actually first wrote this opening chapter from the point-of-view of Daisy’s grandmother, Pauline. It gave the book a much darker tone than I wanted so I scrapped it and decided to let Elliott take the reins.

There is also one final plot thread that I chose not to tie up with a big red ribbon. Initially I wrote a paragraph that would have explained why a certain character made the choice that he did, but then I realized it wasn’t necessary. Readers are smart and book discussions are extra fun when there’s a bit of speculation involved.

I’m not an especially fast or prolific writer, and that’s fine with me. Between the research and the actual writing time, this book took fourteen months to complete, and there were times I wanted to pull my hair out. I’d told my husband there were a couple of twists I was hoping to pull off, but wasn’t sure I knew how to accomplish them.

I told several people that writing this book made my brain hurt (but one of the readers who received an advance copy told me she kept saying to herself as she read it, “This book is so smart!”). When I hear feedback like that, it tells me that everything I did in the name of Every Time I Think of You was worth it.

I hope you enjoy Brooks and Daisy’s story.

EXCERPT

I glanced at my watch. “I need to get going.” I stood and Daisy followed me toward the door. “Don’t hesitate to call the police for any reason. Pay close attention to your surroundings. Keep your door locked. Don’t ever open it without the chain on.” I paused, once again struck by how alone she seemed. Was anyone watching out for her? “Listen, I don’t mean for this to sound as sexist as it’s going to, but is there a guy around?” Rarely did I ask such a personal question, especially when the answer was absolutely none of my business. And I’ll admit to being more than just professionally curious as I waited for her answer.

“There was, but not anymore,” she said. “It’s just Elliott and me. We’ll be okay. When someone knocks, I look through the peephole. If I don’t recognize the person, I leave the chain on when I open the door. I also bought a gun.” She said that last part with such nonchalance that it took me a second to process it.

“You what?” I probably said it with a little more force than I should have.

She looked taken aback. “Shane helped me pick it out.”

I was speechless. “I’m sorry, but you don’t—”

“Look like the type of person who would own a gun?”

It was hard to argue with that statement when it was exactly what I was going to say. “Yes.”

“I didn’t buy the gun because I wanted to. Frankly, I would rather not own one. They scare me,” she said. “But I bought one anyway because the thought of looking something evil right in the eye and knowing that I’m more than likely going to come out on the losing end of it terrifies me. The fear that I’ll be assaulted, or raped and left for dead, or worse yet, that someone will try to harm my child, is the reason I have this gun. That’s the type I am.”

I saw her then, really saw her. Five foot seven, maybe, but small-boned. She was wearing a fitted V-neck T-shirt that emphasized her slight build. I could see the prominent ridge of her collarbone and the deep hollow at the base of her throat that I suddenly couldn’t stop looking at. She’d be no match for anyone. If she wanted a gun, I was hardly in a position to tell her she couldn’t have one. “I’m sorry,” I said. “I was out of line. It’s really none of my business what you do.”

“It’s okay. Pam reacted the same way you did. But I’m doing everything I can to be a responsible gun owner. I’ve signed up for the safety class so I can learn how to handle the gun. How to shoot it. I’ll apply for the permit as soon as I have my certificate. I’ll go to the shooting range, and I’ll practice.”

Taking her to the shooting range was something I could do to help her. It would also give me a chance to spend time with her, which was something that was becoming more appealing by the minute. I could feel the boundary between witness and reporter starting to blur, but I really didn’t care. It had been a while since a woman had sparked my interest the way Daisy had. “You don’t have to justify anything to me. It sounds like you’re doing everything right,” I said. “I’ll let you know if I hear anything on the case.”

“I would really appreciate that.”

Elliott put down his coloring book and ambled across the room. Daisy lifted him into her arms. “You look tired, buddy. Are you ready for your nap?”

“Maybe I’m reading this wrong, but you seem to genuinely care about my safety, and I want you to know that I appreciate it. I need all the help I can get.”

I met her gaze and held it for a moment. “You aren’t reading it wrong at all. Take care, Daisy.”

She smiled and it illuminated her face, making every feature even prettier. She closed the door, and I made my way down the hall. It was true that I cared about Daisy’s safety. Maybe Scott DiStefano had never abused or neglected Elliott, but Daisy’s decision to arm herself made me wonder what he’d done to her.

GIVEAWAY

ONE WINNER WILL RECEIVE (INT):

ONE signed copy of On the Island, Covet, and ETITOY. Also included, a $50 gift card to Barnes & Noble and Amazon. Also, the winner will receive an ARC of Tracey’s next work-in-progress, The Girl He Used to Know (an adult contemporary second-chance romance novel). And finally, Tracey will either use the winner’s name in The Girl He Used to Know (first name or last name only, or the actual real name if comfortable) OR the winner can suggest a name for a character.

**The restrictions to this are that it will not be the name of a main character. It will be a supporting or minor character. Also, this is a fictional character. It is not a character based on the winner.

Tracey Garvis Graves is a New York Times, Wall Street Journal, and USA Todaybestselling author. Her debut novel, On the Island, spent 9 weeks on the New York Timesbestseller list, has been translated into twenty-seven languages, and is in development with MGM and Temple Hill Productions for a feature film. She is also the author ofUncharted, Covet, Every Time I Think of You, and Cherish. She is hard at work on her sixth book.

Tracey loves to interact with her readers and can be found on Facebook and Twitter.

What exactly is a Penny Dreadful?

In the first half of the nineteenth century in Britain, developments in printing and an increased literacy rate amongst the general population encouraged the production of publications aimed at a wide range of people, many of whom had little money to spend on reading material and limited reading skills. Thus arose the market for the penny dreadfuls.
Penny dreadfuls were magazines published on inexpensive paper with fairly simple but exciting stories crammed together with often crude, vivid visuals seen at the time as being just as important as the written material.
In 1873, Hotten’s Slang Dictionary defined them as "those penny publications which depend more upon sensationalism than upon merit, artistic or literary, for success." The term is also sometimes used to refer to the stories and serialized novels themselves. http://www.ryerson.ca/~denisoff/dreadful-defined.html

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